VO: Gloria Patri ("Glory Be to the Father") is at first glance a departure from Kelly's previous work that dealt primarily with women.

SUPER: "A simplistic, one-note equation of masculinity and war." -New York Times

VO: It is also one complete installation, as opposed to her previous works, which dealt with sections.

VO: The physical elements Kelly uses to make her statement on the facade are six sleek trophy-like male figures with quotations from the news engraved in the bases of each; multiple insignia of the battlefield; and five polished aluminum shields containing text that disperses the spectacle of men in war and war alone.

VO: The war she refers to is the (first) Persian Gulf War. Gloria Patri evolved out of Kelly's three years of sketchbook entries following and observing the events on television. Mary Kelly recognized the spectacle of this war, questioning the image of someone in control. Illustrating the fantasy of mastery.

VO: Kelly said that her agenda for Gloria Patri was based on thinking about men's relation to the feminine. In the end, it comes down to the notion that we are removed from reality and in fact, this war has proved that masculinity is not real in the way we perceive it.

SUPER: "Mimicry reveals something in so far as it is distinct from what might be called 'an itself' that is behind it." -Jacques Lacan

VO: Kelly believes that both feminine and masculine identities are mediated through a set of masks. Gloria Patri displayed polished aluminum shields and trophies to generate a parodic spectacle of masculinity, in order to reveal the diverse truths behind the mask.